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Slide text: D.I. Pisarev Turgenev’s novel stirs the mind, makes you think, because everyone is imbued with the most complete, most touching sincerity. Bazarovism is a disease of our time, which pesters people who, in terms of their mental strength, are above the general level. Pechorin has will without knowledge, Rudin has knowledge without will, Bazarov has both knowledge and will, thought and deed merge into one solid whole...

Slide text: In Bazarov’s relations with the common people, one should notice the absence of any pretentiousness, any sweetness. The people like it, and therefore the servants love Bazarov, the children love him. The men have a heart for Bazarov because they see in him a simple and intelligent person, but at the same time this person is a stranger to them, because he does not know their way of life, their needs, their hopes and fears, their concepts, beliefs and prejudices.

Slide text: Unable to show how Bazarov lives and acts, Turgenev showed us how he dies. The description of Bazarov's death constitutes the best part of Turgenev's novel; I even doubt that in all the works of our artist there is anything more remarkable.

Slide text: Pisarev about Bazarov conclusions: ... Bazarovism is a disease, but it is a disease of our time. The disease of the century most often sticks to people whose mental powers are above the general level. Bazarov does not need anyone, is not afraid of anyone, does not love anyone, and as a result does not spare anyone. Turgenev himself will never be Bazarov, but he thought about this type so correctly that none of our young realists will understand. Turgenev does not like merciless denial, and, meanwhile, the personality of a merciless denier emerges as a strong personality and inspires involuntary respect in every reader. Turgenev did not like Bazarov, but recognized his strength, his superiority over the people around him... 5. Without being able to show us how Bazarov lives and acts, Turgenev showed us how he dies. To look death in the eyes, to foresee its approach, without trying to deceive oneself, to remain true to oneself until the last minute, to not weaken or become cowardly until the last moment - this is a matter of strong character. 6. When creating Bazarov, Turgenev wanted to ruin him and instead paid him full tribute.

Slide text: Bazarov is not a person, but some kind of terrible creature, just a devil: - - can’t stand his parents; - slaughters frogs with merciless cruelty; - expresses nonsense and preaches absurdities; - poisons everything it touches.

Slide text: The novel is nothing more than a merciless and destructive criticism of the younger generation. Turgenev’s task turned out to be to write a panegyric to the “fathers” and denounce the “children” whom he did not understand; instead of denunciation, it turned out to be slander. The younger generation is represented as corrupters of youth, sowers of discord and evil, haters of good - in a word, Asmodeus.

Slide text: - one of the most powerful and noble demons; the devil of lust, fornication, jealousy and at the same time revenge, hatred and destruction. Asmodeus

Slide text: There is one major feature that gives special significance and high interest to the hero’s figure. At the same time, it is important for a correct understanding of his actions. Bazarov is an internally free person. Freedom is based on the properties of his great mind and extraordinary willpower. Analytical and critical Dry and cold Not a stranger to irony and skepticism

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Slide text: It is clear that Turgenev did not bring Bazarov out to pat him on the head, he wanted to do something in favor of the fathers. But in contact with such pitiful and insignificant fathers as the Kirsanovs, the tough Bazarov carried away Turgenev, and instead of flogging his son, he flogged the fathers. A.I. Herzen

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Slide text: Bazarov could not be a cold, abstract person; his heart demanded fullness, demanded feelings; and so he gets angry at others, but feels that he should be even more angry at himself. N.N. Strakhov Bazarov came out as a simple man, alien to any brokenness, and at the same time strong, powerful in soul and body. Everything about him unusually suits his strong nature...

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Slide text: The author of “Fathers and Sons” himself turned out to be a victim of the struggle that flared up in Russian society, provoked by his novel. I.S. Turgenev wrote with disappointment: “...No one seems to suspect that I tried to present a tragic face in him - but everyone interprets: - why is he so bad? or - why is he so good?

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Slide text: Which critic saw in Bazarov the devil, a sower of discord and evil, hating good? D.I.Pisarev M.A.Antonovich D.N.Ovsyaniko-Kulikovsky N.N.Strakhov A.I.Gerzen

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Slide text: What, according to D.I. Pisarev, does E. Bazarov have? Hatred of slackers and talkers; Knowledge and will, thought and deed; Great mind and extraordinary willpower.

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Slide text: What goal did I.S. Turgenev set when creating the image of E. Bazarov? mercilessly criticize the younger generation; show the hero's inner tragedy; predict the future of Russia.

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Slide text: What is the capital feature that gives special significance and high interest to the hero’s figure? Inner freedom of E. Bazarov Absence of any pretentiousness, any sweetness in relation to the common people Great mind and extraordinary willpower

1001 ideas for interesting activities with children

DEVELOPMENT OF A LITERATURE LESSON IN 10TH GRADE “NOVEL BY I.S. TURGENEV “FATHERS AND CHILDREN IN THE EVALUATION OF RUSSIAN CRITICISM.” CASE STUDY METHOD

Kopytina Irina Ivanovna State budgetary educational institution education center No. 491 “Maryino” teacher of Russian language and literature, Moscow

Subject (focus): literature

Children's age: Grade 10

Location: literature room

Lesson objectives:

Educational – generalization of knowledge gained from studying a work. To identify the position of critics about the novel by I.S. Turgenev “Fathers and Sons”, about the image of Yevgeny Bazarov; Having created a problematic situation, encourage students to express their own point of view. To develop the ability to analyze the text of a critical article.

Educational – to promote the formation of students’ own point of view.

Developmental – developing skills in working in a group, public speaking, the ability to defend one’s point of view, activating the creative abilities of students.

During the classes.

Turgenev had no pretension and insolence

create a novel that has

all kinds of directions;

admirer of eternal beauty,

he had a proud goal in time

point to the eternal

and wrote a novel that is not progressive

and not retrograde, but,

so to speak, always.

N. Strakhov

Teacher's opening speech Today, as we complete our work on Turgenev’s novel “Fathers and Sons,” we must answer the most important question that always faces us, the readers, how deeply we penetrated into the author’s plan, whether we were able to understand his attitude both to the central character and to his beliefs young nihilists. Let's consider different points of view on Turgenev's novel. The appearance of the novel became an event in the cultural life of Russia, and not only because it was a wonderful book by a wonderful writer. Passions began to boil around her, not literary ones at all. Shortly before publication, Turgenev broke off relations with Nekrasov and decisively parted ways with the editors of Sovremennik. Each writer's appearance in print was perceived by his recent comrades, and now by his opponents, as an attack against Nekrasov's circle. Therefore, fathers and sons found many particularly picky readers, for example, in the democratic magazines Sovremennik and Russkoe Slovo. Speaking about the critics’ attacks on Turgenev regarding his novel, Dostoevsky wrote: “Well, he got it for Bazarov, the restless and yearning Bazarov (a sign of a great heart), despite all his nihilism.” The class is divided into groups. Each group defends the views of Antonovich M.A., Pisarev, I.S. Turgenev. (Working with the case) (See Appendix) 1 group works with a case based on an article by Antonovich M.A. "Asmodeus of Our Time" Among the critics was young Maxim Alekseevich Antonovich, who worked in the editorial office of Sovremennik. This publicist became famous for not writing a single positive review. He was a master of devastating articles. One of the first evidence of this extraordinary talent was a critical analysis of “Fathers and Sons.” The title of the article is borrowed from Askochensky’s novel of the same name, published in 1858. The main character of the book is a certain Pustovtsev - a cold and cynical villain, the true Asmodeus - an evil demon from Jewish mythology, who seduced Marie, the main character, with his speeches. The fate of the main character is tragic: Marie dies, Pustovtsev shot himself and died without repentance. According to Antonovich, Turgenev treats the younger generation with the same ruthlessness as Askochensky. Questions:

Does Russia need Bazarovs?

2nd group works with a case based on the article by D. I. Pisarev “Fathers and Sons,” a novel by I. S. Turgenev.

Introductory remarks by the teacher before the students' presentation. At the same time as Antonovich, Dmitry Ivanovich Pisarev responded to Turgenev’s new book in the magazine “Russian Word”. The leading critic of the Russian Word rarely admired anything. He was a true nihilist - a subverter of shrines and foundations. He was just one of those young (only 22 years old) people who, in the early 60s, renounced the cultural traditions of their fathers and preached useful, practical activities. He considered it indecent to talk about poetry and music in a world where many people are experiencing pangs of hunger! In 1868, he died absurdly: he drowned while swimming, never having had time to become an adult, like Dobrolyubov or Bazarov. Questions:

Does Russia need Bazarovs?

3 group works with a case compiled from excerpts from Turgenev’s letters to Sluchevsky and Herzen. Introductory remarks by the teacher before the students' presentation. The youth of the mid-19th century were in a situation very similar to yours today. The older generation was tirelessly engaged in self-exposure. Newspapers and magazines were full of articles about how Russia was going through a crisis and needed reforms. The Crimean War was lost, the army was disgraced, the landowner economy fell into decay, education and legal proceedings needed updating. Is it surprising that the younger generation has lost confidence in the experience of their fathers? Questions:

What is “bazaarism”? Do Russia need Bazarovs?

Behavior of the results. Conversation on questions:

Are there winners in the novel? Fathers or children? What is bazaarism? Does it exist today? What does Turgenev warn the individual and society against? Does Russia need Bazarovs?

There are words on the board, when do you think they were written?

(Only we are the face of our time!

The horn of time blows for us in the art of words!

The past is tight. The Academy and Pushkin are more incomprehensible than hieroglyphs!

Abandon Pushkin, Dostevsky, Tolstoy, etc. and so on. from the ship of modern times!

Whoever does not forget his first love will not know his last!

Is 100 years a lot or a little? This is the 1912 part of the manifesto “A Slap in the Face of Public Taste.” Has much changed during this time? Summing up the lesson: “Fathers and Sons” is a book about the great laws of existence that do not depend on man. We see little ones in her. Uselessly fussing people against the backdrop of eternal, royally calm nature. Turgenev does not seem to prove anything, he convinces us that going against nature is madness and any such rebellion leads to disaster. A person should not rebel against those laws that are not determined by him, but dictated ... by God, by nature? They are immutable. This is the law of love for life and love for people, especially for your loved ones, the law of the pursuit of happiness and the law of enjoying beauty. In Turgenev’s novel, what is natural wins: “Prodigal” Arkady returns to his parental home, families are created based on love, and the rebellious, cruel, prickly Bazarov, even after his death, is still remembered and selflessly loved by his aging parents.
Expressive reading of the final passage from the novel.

LITERATURE AND LINKS

I.S. Turgenev. Selected works. Moscow. Fiction. 1987

Basovskaya E.N. “Russian literature of the second half of the 19th century. Moscow. "Olympus". 1998.

Antonovich M.A. "Asmodeus of Our Time"

D. I. Pisarev Bazarov. "Fathers and Sons", novel by I. S. Turgenev http://az.lib.ru/p/pisarew_d/text_0220.shtml

APPLICATION

Case for the lesson

I.S. Turgenev “Did I want to scold Bazarov or praise him? I don’t know this myself, because I don’t know whether I love him or hate him!” “My whole story is directed against the nobility as an advanced class.” “The word “nihilist” I released was used then by many who were only waiting for an opportunity, a pretext to stop the movement that had taken over Russian society... When I returned to St. Petersburg, on the very day of the famous fires of the Apraksinsky courtyard, the word “nihilist” was already picked up by thousands of voices, and the first exclamation that came out of the mouth of the first acquaintance I met on Nevsky was: “Look what your nihilists are doing!” They are burning Petersburg!“ „…I had no right to give our reactionary bastard the opportunity to grab onto a nickname - a name; the writer in me had to make this sacrifice for the citizen.” “I wanted to make him a tragic face - there was no time for tenderness. He is honest, truthful and a democrat through and through - but you don’t find any good sides in him?” “An aesthetic feeling forced me to take precisely the good representatives of the nobility in order to prove my theme all the more accurately: if cream is bad, what about milk? “All the true deniers I knew, without exception (Belinsky, Bakunin, Herzen, Dobrolyubov, Speshnev, etc.), came from relatively kind and honest parents. And this is the great meaning: it takes away from the activists, from the deniers, every shadow of personal indignation, personal irritability. They follow their own path only because they are more sensitive to the demands of people’s life.” “... if the reader does not fall in love with Bazarov with all his rudeness, heartlessness, ruthless dryness and harshness - if he does not love him, I repeat - I am guilty and have not achieved my goal. But I didn’t want to “fall apart”, to use his words, although through this I would probably immediately have young people on my side... It’s better to lose a battle (and it seems I lost it) than to win it by a trick. I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to destruction - because it still stands on the threshold of the future - I dreamed of some strange pendant Pugachev." (pair, correspondence (French) “Hand on heart, I don’t feel guilty before Bazarov and couldn’t give him unnecessary sweetness. If they don’t love him as he is, with all his ugliness, then it’s my fault and I failed to get along with the type I chose. The joke would not be important to present him as an ideal, but to make him a wolf and still justify him - it would be difficult; and in this I probably did not have time; but I only want to dismiss the complaint of irritation against him. On the contrary, it seems to me that a nasty feeling of irritation shines in everything, in his death, etc...." Questions:

What was Turgenev’s attitude towards Bazarov? Which of the judgments were unexpected for you? What is “bazaarism”? Does it exist today? Does Russia need Bazarovs?

M.A. Antonovich “Asmodeus of our time” “Contemporary” No. 3 1862. From the very first pages, to the greatest amazement of the reader, a certain kind of boredom takes possession of him; but, of course, you are not embarrassed by this and continue to read, hoping that it will be better, that the author will enter into his role, that talent will take its toll and involuntarily captivate your attention. ...You are enveloped in some kind of deadening cold; you do not live with the characters in the novel, do not become imbued with their lives, but begin to coldly reason with them, or, more precisely, follow their reasoning. ...This shows that Mr. Turgenev’s new work is extremely unsatisfactory artistically. …there is nowhere to hide from the suffocating heat of strange reasoning and to free yourself, even for a minute, from the unpleasant, irritable impression produced by the general course of the actions and scenes depicted... …in the novel, with the exception of one old woman, there is not a single living person or living soul, but all are only abstract ideas and different directions, personified and called by proper names... He (Turgenev) despises and hates his main character and his friends with all his heart;... …..He has some kind of personal hatred and hostility towards them, as if they personally did him some kind of insult and dirty trick, and he tries to mark them at every step as a person personally insulted; with inner pleasure he finds weaknesses and shortcomings in them, which he speaks about with ill-concealed gloating and only in order to humiliate the hero in the eyes of readers; “Look, they say, what scoundrels my enemies and opponents are.” He childishly rejoices when he manages to prick his unloved hero with something, make jokes at him, present him in a funny or vulgar and vile way; Every mistake, every rash step of the hero pleasantly tickles his pride, evokes a smile of self-satisfaction, revealing a proud, but petty and inhumane consciousness of his own superiority. Then Mr. Turgenev tries to portray the main character as a glutton, who only thinks about how to eat and drink, and this again is done not with good nature and comedy, but with the same vindictiveness and desire to humiliate the hero even by a story about gluttony. This personal dislike of the author towards his main character manifests itself at every step and involuntarily outrages the feeling of the reader, who finally becomes annoyed with the author, why he treats his hero so cruelly and mocks him so viciously... On almost every page one can see the author’s desire for whatever he did not want to humiliate the hero, whom he considered his opponent and therefore heaped all sorts of absurdities on him and mocked him in every possible way, scattering witticisms and barbs. From various places in Mr. Turgenev's novel it is clear that his main character is not a stupid person - on the contrary, he is very capable and gifted, inquisitive, diligently studying and knowing a lot; and yet in disputes he is completely lost, expresses nonsense and preaches absurdities that are unforgivable to the most limited mind. He appears to be some kind of poisonous creature that poisons everything he touches; he has a friend, but he despises him too, not the slightest favor; He has followers, but he hates them too. He teaches everyone who submits to his influence to be immoral and senseless; He kills their noble instincts and sublime feelings with his contemptuous mockery, and with it he keeps them from every good deed. …Apparently, Mr. Turgenev wanted to portray in his hero, as they say, a demonic or Byronic nature, something like Hamlet; but, on the other hand, he gave him features by which his nature seems most ordinary and even vulgar, at least very far from demonism. And from this, as a whole, what emerges is not a character, not a living personality, but a caricature, a monster with a tiny head and a giant mouth, a small face and a huge nose, and, moreover, the most malicious caricature. In general, artistically, the novel is completely unsatisfactory, to say the least out of respect for the talent of Mr. Turgenev, for his previous merits and for his many admirers. There is no common thread, no common action that would connect all parts of the novel; all some separate rhapsodies... How does the modern younger generation imagine Mr. Turgenev, our artistic Nestor, our poetic luminary? He is apparently not disposed towards him, and is even hostile towards children; He gives fathers complete advantage in everything and always tries to elevate them at the expense of their children... Mr. Turgenev looks at the modern principles of the younger generation in the same way as Messrs. Nikita Bezrylov and Pisemsky, that is, does not recognize any real and serious significance for them and simply mocks them... …his (Turgenev’s) task ... is reduced to the following formula: “children” are bad, they are presented in the novel in all their ugliness; and the “fathers” are good, which is also proven in the novel... …This is what fathers are like! They, in contrast to children, are imbued with love and poetry, they are moral people, modestly and quietly doing good deeds; they never want to lag behind the times. Even such an empty fool as Pavel Petrovich, and he is raised to stilts and presented as a beautiful person... We will not protect the young male generation; it really is as it is depicted in the novel. So we agree that the old generation is not at all embellished, but is presented as it really is with all its venerable qualities. We just don’t understand why Mr. Turgenev gives preference to the old generation; the younger generation of his novel is in no way inferior to the old. Their qualities are different, but the same in degree and dignity; as are the fathers, so are the children; fathers = children - traces of nobility. So, “fathers” and “children” are equally right and wrong in their mutual repulsion; “children” push away their fathers, and these passively move away from them and do not know how to attract them to themselves; equality is complete. - Further, young men and women are carousing and drinking; She’s doing this wrong, you can’t defend her. But the revelries of the old generation were much more majestic and sweeping... The author directs the arrows of his talent against something into the essence of which he has not penetrated. He heard various voices, saw new opinions, observed lively debates, but could not get to the inner meaning, and therefore in his novel he touched only the tops, some words that were spoken around him; the concepts combined in these words remained a mystery to him... Questions:

What is Antonovich’s attitude to the novel by I.S. Turgenev?

What is the purpose of the novel, according to the critic?

Which of the judgments were unexpected for you? Express your opinion on Turgenev’s novel.

Does Russia need Bazarovs?

D. I. Pisarev “Bazarov” “Fathers and Sons”, novel by I. S. Turgenev “Russian Word” 1862 March

Turgenev's new novel gives us everything that we are accustomed to enjoying in his works. The artistic finishing is immaculately good; characters and situations, scenes and pictures are drawn so clearly and at the same time so softly that the most desperate art denier will feel, when reading the novel, some kind of incomprehensible pleasure, which cannot be explained either by the entertaining nature of the events being told, or by the amazing fidelity of the main idea... Through the fabric of the story one can see the author's personal, deeply felt attitude towards the deduced phenomena of life. Turgenev's novel, in addition to its artistic beauty, is also remarkable because it stirs the mind, makes you think... It makes you think precisely because it is completely imbued with the most complete, most touching sincerity. You can be indignant at people like Bazarov all you want, but recognizing their sincerity is absolutely necessary. …He (Bazarov) works without a goal, to obtain his daily bread or out of love for the process of work, and yet he vaguely feels from the amount of his own strength that his work will not remain without a trace and will lead to something... If bazaarism is a disease, then it is a disease of our time, and we have to suffer through it, despite any palliatives and amputations. Treat bazaarism however you like - it’s your business; but stop - don't stop; it's the same cholera. The disease of the century first of all sticks to people whose mental powers are above the general level. Bazarov, obsessed with this disease, is distinguished by a remarkable mind and, as a result, makes a strong impression on the people who encounter him... ... It is Bazarov himself who fits the definition of a real person; he constantly immediately captures the attention of people around him; he intimidates and alienates some; subdues others, not so much with arguments, but with the direct power, simplicity and integrity of his concepts. He doesn't love anyone; without breaking existing connections and relationships, he at the same time will not take a single step to re-establish or maintain these relationships, will not soften a single note in his stern voice, will not sacrifice a single sharp joke, not a single eloquent word... Like Diogenes, he is ready to live almost in a barrel and for this he gives himself the right to speak harsh truths to people’s faces for the same reason that he likes it. …..The fact is that Turgenev obviously does not favor his hero. His soft, loving nature, striving for faith and sympathy, is jarred by corrosive realism; …The masses lived happily at all times and, due to their characteristic unpretentiousness, were satisfied with what was available. ...The mass, made up of those hundreds of thousands of indivisibles (4), who have never in their lives used their brain as an instrument of independent thinking, lives on from day to day... This mass makes neither discoveries nor crimes, they think and suffer for it, other people search and find, struggle and make mistakes, always strangers to her, always looking at her with disdain and at the same time always working to increase the comforts of her life... Smart people who have not received a serious education cannot stand the life of the masses, because she bores them with her colorlessness; they themselves have no idea about a better life and therefore, instinctively recoil from the masses, they remain in empty space…. Other people, smart and educated, are not satisfied with the life of the masses and subject them to conscious criticism, but, looking back, they constantly, fearfully ask each other: will society follow us? People of the third category go further - they are aware of their difference from the masses and boldly separate themselves from them by their actions, habits, and entire way of life. Whether society will follow them is of no concern to them. In a word, the Pechorins have will without knowledge, the Rudins have knowledge without will; The Bazarovs have both knowledge and will. Thought and deed merge into one solid whole. On whose side do the artist's sympathies lie? Who does he sympathize with? This essentially important question can be answered positively, that Turgenev does not completely sympathize with any of his characters; Not a single weak or funny feature escapes his analysis... There is no irritation to be heard in the tone of his (Turgenev’s) description; he was just tired of walking; Turgenev himself will never be Bazarov, but he thought about this type and understood him as correctly as none of our young realists will understand. Looking at Bazarov from the outside, looking as only a “retired” person who is not involved in the modern movement of ideas can look, looking at him with that cold, searching look that is given only by long life experience, Turgenev justified Bazarov and appreciated him. Bazarov emerged from the test clean and strong. Turgenev did not find a single significant accusation against this type, and in this case his voice, as the voice of a man who, by age and by his outlook on life, is in a different camp, has a particularly important, decisive significance. Turgenev did not like Bazarov, but recognized his strength, recognized his superiority over the people around him, and himself paid him full tribute of respect. …In Bazarov’s relations with the common people, one must notice, first of all, the absence of any pretentiousness and any sweetness. The people like it, and therefore the servants love Bazarov, the children love him, despite the fact that he does not treat them with almonds at all and does not lavish them with money or gingerbread. …Bazarov behaves simply with the peasants, does not reveal either lordship or a cloying desire to imitate their speech and teach them wisdom, and therefore the peasants, speaking to him, are not timid or embarrassed; but ... they look at him as a strange, exceptional phenomenon, neither this nor that, and will look in this way at gentlemen like Bazarov until there are no more of them and until they have time to take a closer look at them ... … People like Bazarov are not completely defined by one episode snatched from their life. This kind of episode gives us only a vague idea of ​​what is in these people colossal forces lurk... …Bazarov is a man of life, a man of action, but he will get down to business only when he sees the opportunity to act not mechanically. …If the desired changes occur in consciousness, and consequently in the life of society, then people like Bazarov will be ready, because the constant work of thought will not allow them to become lazy, stale and rusty, and constantly awake skepticism will not allow them to become fanatics of their specialty or lukewarm followers of a one-sided doctrine... …But looking into the eyes of death, foreseeing its approach, without trying to deceive yourself, remaining true to yourself until the last minute, not weakening and not becoming afraid - this is a matter of strong character. To die the way Bazarov died is the same as accomplishing a great feat... ..The Bazarovs, under certain circumstances, develop into great historical figures; …Peering at his Bazarov, Turgenev as a person and as an artist grows in his novel, grows before our eyes and grows to a correct understanding, to a fair assessment of the created type. …He became a man, instead of being the embodiment of the theory of nihilism... ...The whole interest, the whole point of the novel lay in the death of Bazarov. If he had been cowardly, if he had betrayed himself, his whole character would have been illuminated differently; an empty braggart would appear, from whom neither fortitude nor determination can be expected in case of need; the whole novel would turn out to be slander against the younger generation, an undeserved reproach.

But it’s still bad for the Bazarovs to live in the world, even though they sing and whistle (20). No activity, no love, and therefore no pleasure. They don’t know how to suffer, they won’t whine, and sometimes they only feel that it’s empty, boring, colorless and meaningless. So what should we do? After all, you shouldn’t deliberately infect yourself in order to have the pleasure of dying beautifully and calmly? No! What to do? To live while you live, to eat dry bread when there is no roast beef, to be with women when you cannot love a woman, and not to dream of orange trees and palm trees at all, when there are snowdrifts and cold tundra under your feet. Questions:

What does the critic see as the merits of Turgenev’s novel? What conclusions does Pisarev come to when comparing Bazarov with “other literary types?” Turgenev's attitude towards Bazarov. Bazarov's attitude towards the common people Does Russia need Bazarovs?

D.I. Pisarev wrote that “the whole interest, the whole meaning of the novel lies in the death of Bazarov... The description of Bazarov’s death is the best place in Turgenev’s novel; I even doubt that there is anything remarkable in all the works of our artist."

After the publication of Fathers and Sons, I. S. Turgenev wanted to leave literary activity forever and even said goodbye to readers in the story “Enough.” “Fathers and Sons” made a splash in a way the author did not expect. With bewilderment and bitterness, he stopped before the “chaos of contradictory judgments” (Yu. V. Lebedev). In a letter to A. A. Fet, Turgenev remarked in confusion: “Did I want to scold Bazarov or extol him? I don’t know this myself, because I don’t know anymore whether I love him or hate him!”

1. What are the fundamental properties of the Bazarov type and what are they caused by? Pisarev, with his characteristic aphoristic precision, reveals the essence of the Bazarov type, which is generated by the harsh school of labor. It was labor that developed energy... Pisarev explained Bazarov’s rudeness and harshness by saying that “hard work makes hands coarse, manners become coarser, feelings become coarser.”

What does the critic say about Turgenev’s attitude towards the Bazarov type in general? What does he think about the death of the hero in particular? For Turgenev, his hero stands “on the threshold of the future.” Bazarov dies, and his lonely grave makes one think that the democrat Bazarov has no followers or successors. Pisarev seems to agree with Turgenev, since he believes that Bazarov “has no activity.” Well, what if “he has no reason to live; So we have to see how he will die.” The critic analyzes in detail the chapter about Bazarov’s illness and death, admires the hero, and shows what gigantic strengths and capabilities this new type has. “To die the way Bazarov died is the same as having accomplished a great feat.”

What, according to D.I. Pisarev, controls Bazarov’s actions? The reasons for vigorous activity, according to Pisarev, are “personal whim or personal calculations.” The critic, having overlooked Bazarov’s revolutionary spirit, could not clearly explain what “personal calculations” means. Pisarev also impoverished the concept of “personal whim” without filling it with revolutionary content.

How does Bazarov compare with the heroes of the previous era? D.I. Pisarev wrote this about the attitude towards Bazarov and his predecessors in Russian literature: “... the Pechorins have will without knowledge, the Rudins have knowledge without will, the Bazarovs have both knowledge and will, thought and deed merge into one solid whole."

Express your agreement/disagreement with the opinion of M.A. Antonovich. Give reasons for your answer. - “Mr. Turgenev’s new work is extremely unsatisfactory artistically.” - Turgenev “despises and hates his main character with all his heart,” and “gives complete advantage to his fathers and tries to elevate them...” - Bazarov “is completely lost, expresses nonsense and preaches absurdities.” Pavel Petrovich “amazes Bazarov at every step.” - Bazarov “hates everyone”... “not a single feeling creeps into his cold heart.”

N. N. Strakhov believed that Bazarov is an image of a man trying to subjugate the “forces of life” that gave birth to him and dominate him. Therefore, the hero denies love, art, the beauty of nature - these are the forces of life that reconcile a person with the world around him. Bazarov hates reconciliation, he thirsts for fight. Strakhov emphasizes the greatness of Bazarov. Turgenev’s attitude, according to Strakhov, is the same towards both fathers and children. “This identical measure, this common point of view in Turgenev is human life, in its broadest and fullest meaning.”

With the release of I. S. Turgenev’s novel “Fathers and Sons,” a lively discussion of it began in the press, which immediately acquired an acute polemical character. Almost all Russian newspapers and magazines responded to the appearance of the novel. The work gave rise to disagreements both between ideological opponents and among like-minded people, for example, in the democratic magazines Sovremennik and Russian Word. The dispute, in essence, was about the type of new revolutionary figure in Russian history.

“Contemporary” responded to the novel with an article by M. A. Antonovich “Asmodeus of Our Time.” The circumstances surrounding Turgenev's departure from Sovremennik predisposed the novel to be assessed negatively by the critic. Antonovich saw in it a panegyric to the “fathers” and slander against the younger generation. In addition, it was argued that the novel is very weak artistically, that Turgenev, who aimed to discredit Bazarov, resorted to caricature, depicting the main character as a monster “with a tiny head and a giant mouth, with a small face and a very big nose.” Antonovich is trying to defend women’s emancipation and the aesthetic principles of the younger generation from Turgenev’s attacks, trying to prove that “Kuk-shina is not as empty and limited as Pavel Petrovich.” Regarding Bazarov’s denial of art, Antonovich said that this is a complete lie, that the younger generation denies only “pure art,” among whose representatives, however, he included Pushkin and Turgenev himself.

In the magazine “Russian Word” in 1862, an article by D.I. Pisarev “Bazarov” appeared. The critic notes some bias of the author in relation to Bazarov, says that in a number of cases Turgenev “does not favor his hero”, that he experiences “an involuntary antipathy towards this line of thought.” But the general conclusion about the novel does not come down to this. D.I. Pisarev finds in the image of Bazarov an artistic synthesis of the most significant aspects of the worldview of heterogeneous democracy, depicted truthfully, despite Turgenev’s original plan. The author’s critical attitude towards Bazarov is perceived by the critic as a virtue, since “from the outside, the advantages and disadvantages are more visible,” and “a strictly critical look... at the moment turns out to be more fruitful than unfounded admiration or servile adoration.” The tragedy of Bazarov, according to Pisarev, is that there are actually no favorable conditions for the present case, and therefore, “not being able to show us how Bazarov lives and acts, I. S. Turgenev showed us how he dies.

In his article, D.I. Pisarev confirms the artist’s social sensitivity and the aesthetic significance of the novel: “Turgenev’s new novel gives us everything that we are accustomed to enjoying in his works. The artistic decoration is impeccably good... And these phenomena are very close to us, so close that our entire young generation, with their aspirations and ideas, can recognize themselves in the characters in this novel.”

Even before the start of direct polemics, D.I. Pisarev actually predicts Antonovich’s position. Regarding the scenes with Sitnikov and Kukshina, he notes: “Many of the literary opponents of the Russian Messenger will fiercely attack Turgenev for these scenes.”

However, D.I. Pisarev is convinced that a real nihilist, a commoner democrat, just like Bazarov, must deny art, not understand Pushkin, and be sure that Raphael “is not worth a penny.” But it is important for us that Bazarov, who dies in the novel, is “resurrected” on the last page of Pisarev’s article: “What to do? To live while you live, to eat dry bread when there is no roast beef, to be with women when you cannot love a woman, and not to dream of orange trees and palm trees at all, when there are snowdrifts and cold tundra under your feet.” Perhaps we can consider Pisarev’s article the most striking interpretation of the novel in the 60s.

In 1862, in the fourth book of the magazine “Time”, published by F. M. and M. M. Dostoevsky, an interesting article by N. N. Strakhov was published, which was called “I. S. Turgenev. "Fathers and Sons". Strakhov is convinced that the novel is a remarkable achievement of Turgenev the artist. The critic considers the image of Bazarov extremely typical. “Bazarov is a type, an ideal, a phenomenon elevated to the pearl of creation.” Some features of Bazarov's character are explained more precisely by Strakhov than by Pisarev, for example, the denial of art. What Pisarev considered an accidental misunderstanding explained by the individual development of the hero (“He bluntly denies things that he does not know or does not understand...”), Strakhov perceived as an essential feature of the character of a nihilist: “... Art always has the character of reconciliation, whereas Bazarov does not at all want to come to terms with life. Art is idealism, contemplation, detachment from life and worship of ideals; Bazarov is a realist, not a contemplator, but a doer...” However, if in D.I. Pisarev Bazarov is a hero in whom word and deed merge into one whole, then in Strakhov the nihilist is still a hero of “words,” albeit with a thirst for activity taken to extremes.

The liberal critic P.V. Annenkov also responded to Turgenev’s novel. In his article “Bazarov and Oblomov” he tries to prove that, despite the external difference between Bazarov and Oblomov, “the grain is the same in both natures.”

In 1862, the magazine “Vek” published an article by an unknown author, “Nihilist Bazarov.” It is devoted primarily to the analysis of the personality of the protagonist: “Bazarov is a nihilist. He has an absolutely negative attitude towards the environment in which he is placed. Friendship does not exist for him: he tolerates his friend as the strong tolerate the weak. Family relationships for him are the habit of his parents towards him. He understands love as a materialist. The people look at the little kids with the disdain of an adult. There is no field of activity left for Bazarov.” As for nihilism, an unknown critic states that Bazarov’s denial has no basis, “there is no reason for it.”

In A. I. Herzen’s work “Bazarov Once More,” the main object of polemic is not Turgenev’s hero, but Bazarov, created in the articles of D. I. Pisarev. “Whether Pisarev understood Turgenev’s Bazarov correctly, I don’t care about that. The important thing is that he recognized himself and his people in Bazarov and added what was missing in the book,” the critic wrote. In addition, Herzen compares Bazarov with the Decembrists and comes to the conclusion that “the Decembrists are our great fathers, the Bazarovs are our prodigal children.” The article calls nihilism “logic without structures, science without dogmas, submission to experience.”

At the end of the decade, Turgenev himself became involved in the controversy surrounding the novel. In the article “About “Fathers and Sons,” he tells the story of his plan, the stages of publication of the novel, and makes his judgments about the objectivity of the reproduction of reality: “... To accurately and strongly reproduce the truth, the reality of life is the highest happiness for a writer, even if this the truth does not coincide with his own sympathies.”

The works discussed in the essay are not the only responses of the Russian public to Turgenev’s novel “Fathers and Sons.” Almost every Russian writer and critic has expressed, in one form or another, their attitude to the problems raised in the novel. Isn’t this a real recognition of the relevance and significance of the work?

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D.I. Pisarev Turgenev's novel stirs the mind, makes one think, because everyone is imbued with the most complete, most touching sincerity. Bazarovism is a disease of our time, which pesters people who, in terms of their mental strength, are above the general level. Pechorin has will without knowledge, Rudin has knowledge without will, Bazarov has both knowledge and will, thought and deed merge into one solid whole...

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In Bazarov’s relations with the common people, one must notice the absence of any pretentiousness, any sweetness. The people like it, and therefore the servants love Bazarov, the children love him. The men have a heart for Bazarov because they see in him a simple and intelligent person, but at the same time this person is a stranger to them, because he does not know their way of life, their needs, their hopes and fears, their concepts, beliefs and prejudices.

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Unable to show how Bazarov lives and acts, Turgenev showed us how he dies. The description of Bazarov's death constitutes the best part of Turgenev's novel; I even doubt that in all the works of our artist there is anything more remarkable.

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Pisarev's conclusions about Bazarov: ... Bazarovism is a disease, but it is a disease of our time. The disease of the century most often sticks to people whose mental powers are above the general level. Bazarov does not need anyone, is not afraid of anyone, does not love anyone, and as a result does not spare anyone. Turgenev himself will never be Bazarov, but he thought about this type so correctly that none of our young realists will understand. Turgenev does not like merciless denial, and, meanwhile, the personality of a merciless denier emerges as a strong personality and inspires involuntary respect in every reader. Turgenev did not like Bazarov, but recognized his strength, his superiority over the people around him... 5. Without being able to show us how Bazarov lives and acts, Turgenev showed us how he dies. To look death in the eyes, to foresee its approach, without trying to deceive oneself, to remain true to oneself until the last minute, to not weaken or become cowardly until the last moment - this is a matter of strong character. 6. When creating Bazarov, Turgenev wanted to ruin him and instead paid him full tribute.

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Bazarov is not a person, but some kind of terrible creature, just a devil: - - can’t stand his parents; - slaughters frogs with merciless cruelty; - expresses nonsense and preaches absurdities; - poisons everything it touches.

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The novel is nothing more than a merciless and destructive criticism of the younger generation. Turgenev’s task turned out to be to write a panegyric to the “fathers” and denounce the “children” whom he did not understand; instead of denunciation, it turned out to be slander. The younger generation is represented as corrupters of youth, sowers of discord and evil, haters of good - in a word, Asmodeus.

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One of the most powerful and noble demons; the devil of lust, fornication, jealousy and at the same time revenge, hatred and destruction. Asmodeus

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There is one major feature that gives special significance and high interest to the figure of the hero. At the same time, it is important for a correct understanding of his actions. Bazarov is an internally free person. Freedom is based on the properties of his great mind and extraordinary willpower. Analytical and critical Dry and cold Not a stranger to irony and skepticism

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It is clear that Turgenev did not bring Bazarov out to pat him on the head, he wanted to do something in favor of the fathers. But in contact with such pitiful and insignificant fathers as the Kirsanovs, the tough Bazarov carried away Turgenev, and instead of flogging his son, he flogged the fathers. A.I. Herzen

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Bazarov could not be a cold, abstract person; his heart demanded fullness, demanded feelings; and so he gets angry at others, but feels that he should be even more angry at himself. N.N. Strakhov Bazarov came out as a simple man, alien to any brokenness, and at the same time strong, powerful in soul and body. Everything about him unusually suits his strong nature...

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The author of Fathers and Sons himself turned out to be a victim of the struggle that flared up in Russian society, provoked by his novel. I.S. Turgenev wrote with disappointment: “...No one seems to suspect that I tried to present a tragic face in him - but everyone interprets: - why is he so bad? or - why is he so good?

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Which critic saw in Bazarov the devil, a sower of discord and evil, hating good? D.I.Pisarev M.A.Antonovich D.N.Ovsyaniko-Kulikovsky N.N.Strakhov A.I.Gerzen

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What, according to D.I. Pisarev, does E. Bazarov have? Hatred of slackers and talkers; Knowledge and will, thought and deed; Great mind and extraordinary willpower.

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What goal did I.S. Turgenev set when creating the image of E. Bazarov? mercilessly criticize the younger generation; show the hero's inner tragedy; predict the future of Russia.